I seek to capture time, to make time visible. For that purpose, I have created a vocabulary of shapes that could capture “events” through time.
These devices —that I call matrixes— are iron structures where I place my canvas. They work as surfaces of exchange with the outside world that leave imprints on the canvas depending on the micro-events that unfold, such as the rain, fallen tree leaves or fruits, animals, and many others. After several seasons or even years, the organic phenomena end up creating images on the canvas. When it reaches a point of maturity, I harvest the canvas and give its artwork shape back.
My matrixes have familiar names, given based on their shapes: table, wing, Mother superior, moon, twins.
In my endeavor, I also work directly with natural and urban landscapes where energy unfolds. It can be on a gable wall, a roof, a culvert, the edge of a ring road, trees, or a medieval buttress. It’s endless. I apply a canvas in the shape that I find, because I feel the place. And I let things happen during one season to 10 years, depending on the...